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K12 Performing Arts

Assessment Commentary
Assessment Commentary Directions: Respond to the prompts below (no more than 10 single-
spaced pages, including prompts) by typing your responses within the brackets following each prompt.
Do not delete or alter the prompts; both the prompts and your responses are included in the total page
count allowed. Refer to the evidence chart in the handbook to ensure that this document complies with all
format specifications. Pages exceeding the maximum will not be scored.
1. Analyzing Student Learning
a. dentify the specific standards!ob"ectives measured by the assessment you chose for
analysis.
# $he ob"ective of this assessment was to measure how well the students knew the solfege
syllables. $his assessment was also used to determine if the students could write the ma"or
scale using the correct solfege in the correct order. $his assessment also gave students the
opportunity to create a short melodic line using specific guidelines as to what for what notation
to use% which correlates with &'()* of the llinois +tate ,ontent +tandards. -
b. Provide the evaluation criteria you used to analy.e the student learning.
# /t first glance at each individual assessment% would first determine whether the students
were using the right solfege syllables. 0ext would determine whether or not the students
placed the solfege in the correct order; to see if they associated each solfege syllable with the
correct note number in the ma"or scale. 1ne of the goals was to make sure students could
correctly spell out the ma"or scale using solfege. 0ext analy.ed the student2s ability to create a
3 note melody using solfege syllables.-
c. Provide a graphic (table or chart) or narrative that summari.es student learning for your
whole class. (e sure to summari.e student learning for all evaluation criteria described
above.
# /fter evaluating and assessing 45 of the students2 formal assessments% assessed that all
students in the class could accurately identify each solfege syllable. assessed that 46 out 45
students could accurately write the ma"or scale using solfege syllables in the correct order.
7hile one student was unable to correctly write out the ma"or scale using the correct order of
solfege% the student was able to spell correctly each solfege syllable written. $he student would
was able to pair certain solfege syllables together like starting the ma"or scale with 8re)mi9%
instead of 8do)re9% and next saying 8so)la9 instead of 8mi)fa9. :ocusing on the create your own
melody part of the assessment% all students were able to use correct solfege syllables.
Regarding how they organi.ed the solfege in their melody% 4* out of 45 students used various
patterns to organi.e their melody different from the organi.ation of the ma"or scale% where as '
of the 45 showed evidence that their melodies resembled sections of the ma"or scale. n terms
of starting their melody on the solfege 8do9% 5 out of 45 students wrote their melodies starting on
do% whereas 4; out of 45 started their melodies on a solfege syllable different from 8do9. +ome
of the students started their melody on the solfege 8re9 (* out of 4;)% some started on 8mi9 (* out
of 4;)% two of the students started on 8fa9 (& out of 4;)% and two students started their melody on
8so9 (& out of 4;). -
d. <se evidence found in the 3 student work samples and the whole class summary to
analy.e the patterns of learning for the whole class and differences for groups or
individual learners relative to creating% performing% or responding to music!dance!theater
by applying
artistic skills (e.g.% self expression% creativity% exploration!improvisation)
knowledge (e.g.% tools!instruments% technical proficiencies% processes% elements%
organi.ational principles)
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K12 Performing Arts
Assessment Commentary
contextual understandings (e.g.% social% cultural% historical% global% personal reflection)
,onsider what students understand and do well% and where they continue to struggle (e.g.%
common errors% weaknesses% confusions% need for greater challenge).
# +tudents were able to demonstrate their artistic skills by creating their own 3 note melody
using solfege syllables. $hey were allowed to use whatever solfege syllables they wanted% they
could start their melody on whatever solfege syllable they chose% and they could use each
solfege syllable more than once if they chose to. $his assessment demonstrated the students2
knowledge of how to write out the ma"or scale using solfege syllables in the correct order. $his
also demonstrated the students2 ability to recogni.e patterns and notate them in both writing out
the ma"or scale and creating their own melody% which correlates with the use of elements of the
ma"or scale and organi.ational principles. n terms of contextual understanding% this assessment
was organi.ed in a way the students were familiar with% specifically =uestion 4 in the formal
assessment. n the layout of the =uestion% put numbers one through 6 with answer spaces
underneath. 7hile =uestion was something we talked about in every lesson of our segment%
organi.ed the =uestion so that the information was easy for the students to understand% it was
organi.ed in a way that was familiar to the student% making the students able to answer the
=uestion using prior knowledge% and it better allowed me to assess the students without
confusion.-
2. eed!ack to "uide urther Learning
Refer to specific evidence of submitted feedback to support your explanations.
a. n what form did you submit your evidence of feedback for the * focus students> #$elete
choices that do not apply.%
7ritten directly on work samples or in a separate document;
b. ?xplain how feedback provided to the * focus students addresses their individual
strengths and needs relative to the standards!ob"ectives measured.
# n the feedback for all three students% gave a general positive comment for their success on
the assessment. then gave specific positive comments fore each of the =uestions. +tudent @4
was my student with ?AA% with the primary language being ,hinese. gave feedback on how the
student used the correct solfege in the correct order for =uestion 4% and mentioned how the
student used the correct solfege syllables in =uestion &. Aike +tudent @4% +tudent @& and
+tudent @* were also able to write the ma"or scale using solfege in the correct order% and
provided the same feedback on their assessment. :or +tudent @& with =uestion &% praised the
student for changing the solfege in the melody. :or +tudent @* with =uestion &% praised the
student for using different solfege syllables within the melody. By feedback in all three
assessments addressed the student2s ability to use correct solfege syllables% using those
syllables in the correct order% and assessed their ability to create a five note melody using
solfege.-
c. Cow will you support students to apply the feedback to guide improvement% either within
the learning segment or at a later time>
# $he melody that +tudent @& created in =uestion & resembled the pentatonic scale% so in terms
of moving forward with the classes learning% would use this example in class as an example
the students could read on the whiteboard and perform using solfege syllables and hand signs.
$his would direct us into our learning of the pentatonic scale and the natural minor scale. will
support students to keep using solfege syllables in music% but will also encourage students to
write their own melodies using solfege% and at a later time% could formally assess them again
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K12 Performing Arts
Assessment Commentary
on whether they can write an eight note melody using solfege syllables% but they can only start
on 8re9% and they need to use two of the solfege syllables twice. $his would be used as a way to
teach students that melody does not always start on 8do9% like the ma"or scale. $he feedback
also reminds the students that they wrote out the ma"or scale using the correct order. $he order
of the ma"or scale will be useful when begin to teach students about the pentatonic scale and
harmonic minor scale; the structure of the scales are similar but with slight differences.-
3. &'idence o( Language )nderstanding and )se
Dou may provide evidence of students2 language use (rom *+&, ,-* *. ALL
,/.&& o( the (ollowing sources0
4. <se video clips from $ask & and provide time)stamp references for language use.
&. +ubmit an additional video file named 8Aanguage <se9 of no more than 3 minutes in
length and provide time)stamp references for student language use (this can be footage
of one or more students2 language use). +ubmit the clip in $ask * Part (.
*. <se the student work samples analy.ed in $ask * and cite language use.
7hen responding to the prompt below% use concrete examples from the clips (using time)
stamp references) and!or student work samples as evidence. ?vidence from the clips may
focus on one or more students.
?xplain and provide evidence for the extent to which your students were able to use or
struggled to use language (selected function% vocabulary% and additional identified
demands from $ask 4) to develop content understandings>
# +tudents were able to understand what solfege is and they understand the solfege syllables
can be used to help sing our ma"or scale. $his was demonstrated in the segment of the
language use video. $he students were also able to put the solfege syllables in the correct order
to spell out the ma"or scale. $his can be seen on all three of the student2s work examples.-
1. )sing Assessment to 2n(orm 2nstruction
a. (ased on your analysis of student learning presented in prompts 4cEd% describe next steps
for instruction
for the whole class
for the * focus students and other individuals!groups with specific needs
,onsider the variety of learners in your class who may re=uire different strategies!support
(e.g.% students with ?Ps% ?nglish language learners% struggling readers% underperforming
students or those with gaps in academic knowledge% and!or gifted students).
# (ased on the formal assessment results for the whole class% would next begin to teach the
students about the pentatonic scale% and how we can use some of the same solfege syllables to
sing the pentatonic scale. 7e will then also talk about the harmonic minor scale and how you
need to change certain solfege syllables to sing this scale correctly. $he discussion of minor
scales would give me the chance to bring back what we learned about ma"or scales% which
would lead us into a discussion of ma"or and minor modes% using the same songs we used in
this learning segment to further the students2 understanding of ma"or and minor modes. :ort
+tudent @4 who is a student ?AA% would continue to write ?nglish numbers on the board% with
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per%itted only pursuant to the ter%s of a 'ritten li)ense agree%ent.
K12 Performing Arts
Assessment Commentary
the solfege syllables for each scale underneath. (ased on the student2s formal assessment and
the student2s ability to use the solfege syllables and signs to sing a melody% using numbers to
correlate with the solfege syllables helped the student2s understanding of how to write out a
ma"or scale. $his can be seen in +tudent @4 :ormal /ssessment and in the video Aanguage use
at 6F33. :or +tudent @&% would use the student2s five note melody that he created as a segue
into our discussion of the pentatonic scale. $he student spelled out a pentatonic scale within his
assessment% which can be seen in +tudent @& :ormal /ssessment. :or +tudent @*% will use
her five note melody from her formal assessment as the basis for our next formal assessment%
which will have more guidelines for students to follow. $hey will be asked to write an eight note
melody using solfege syllables% but they can only start on 8re9% and they need to use two of the
solfege syllables twice. $his is to encourage student creativity and artistic skills% but it will also
be used to further their learning that a melody does not always start on 8do9% and they will use
their prior knowledge that melody can travel up% down% or stay the same.-
b. ?xplain how these next steps follow from your analysis of students2 learning. +upport your
explanation with principles from research and!or theory.
# $hese next steps of instruction are based on the information collected from all the students2
formal assessments% specifically the three student assessment2s documented. (y teaching the
students about the pentatonic scale and the harmonic minor scale% students will be given an
opportunity to compare and contrast the ma"or scale to the new scales they are learning.
$eaching these scales through the use of numbers and solfege syllables will encourage
students to think symbolically% which corresponds with Piaget2s theory of cognitive development.
Piaget2s theory% specifically the preoperational stage (ages &)G)% supports that students will be
learning to think symbolically by using words and pictures to represent ob"ects. (ased on this
theory% students will continue to their understanding of how solfege syllables correspond with a
specific note number in the scale% depending on what the scale is. /fter learning about the
pentatonic scale and the harmonic minor scale% we would continue to learn about ma"or and
minor modes% which would give us the opportunity to bring back what we learned about the
ma"or scale from this learning segment. +tudents will be able to use their prior knowledge of the
ma"or scale% using numbers and solfege to write it out% and apply it to their learning of ma"or and
minor modes. n order for students to develop their understanding of ma"or and minor modes%
the students will need to create patterns between what they learned about the ma"or and minor
scale% and figure out how it applies to ma"or and minor modes. $his corresponds with the (rain)
(ased Aearning $heory% because one of the core principles of this theory is that the search for
meaning and understanding comes from patterning. $hrough this learning segment% students
have been able to create a pattern between the numbers used in 8t2s +o Hood $o +ee Dou9
(numbers that were written on the board) and the solfege syllables used to spell out the ma"or
scale. $he students found the pattern for how to spell the ma"or scale using the correct solfege
syllables in the correct% and they were able to connect the numbers and solfege syllable
together% which allowed them to sing the ma"or scale using both numbers and solfege. (ased on
the data from the three formal assessments% we can see how the students used their knowledge
through patterning% and shows how the brain focuses on wholes concepts and partial concepts
at the same time% which corresponds with the (rain)(ased Aearning $heory as well as the
+ocial ,ognition Aearning Bodel and 1bservational Aearning Bodel. 1ne of the core principles
of the +ocial ,ognition Aearning Bodel is that students are able to develop cognitively when
they are presented with problem)solving experiences and language use. t states that language
is the primary interaction between teacher and students. (y teaching the students about the
pentatonic and harmonic minor scale through the use of solfege% will be building off the
students prior knowledge of what solfege is and their comprehension of it. 7ith regard to the
1bservational Aearning Bodel% students need examples of modeling in order to further their
understanding of different concepts. $hrough our teaching of pentatonic scales and harmonic
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ll rights reserved. !2"0#13
The edT$ trade%ar&s are o'ned (y The Board of Trustees of the Leland Stanford Junior University. Use of the edT$ trade%ar&s is
per%itted only pursuant to the ter%s of a 'ritten li)ense agree%ent.
K12 Performing Arts
Assessment Commentary
minor scale% will still be using solfege hand signs to teach them how to sing both of those
scales. $his will re=uire a lot of physical modeling on my part% to help further the students2
understanding of both scales. ?ventually we will go on to learning about ma"or and minor
modes% which we will involve me playing the piano and modeling songs they already know in
different modes. $hese songs will be 8Bary Cad / Aittle Aamb9% 8t2s +o Hood $o +ee Dou9%
8$winkle% $winkle% Aittle +tar9 and other songs in both ma"or and minor modes. /s well as
playing these songs on the piano both in ma"or and minor modes% will also be singing these
songs in both modes and modeling for them what each song sounds like. +tudents will use their
listening skills to try and hear the difference% and watch me while play and sing. $his is an
example of observational learning; using sensory elements to gather information and develop
the students learning of a specific concept.-
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ll rights reserved. !2"0#13
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per%itted only pursuant to the ter%s of a 'ritten li)ense agree%ent.